[Editor's Note: Interview conducted by Eleanor Brietel, New York Editor of The Drill Press. Most of this interview, originally published on the Buzzle website, was conducted via email.]
Eleanor Brietel: You've published fiction and you also write essays on a variety of subjects. I want, however, to confine this discussion to your thoughts about jazz, a special interest of yours that has resulted in a couple of books, a lot of liner notes and numerous articles in places like Down Beat, Rolling Stone, Metronome, Jazz & Pop Magazine (where you were the Jazz Editor) and The Village Voice (where you earned a reputation as an avidsome would say, zealoussupporter of the so-called "jazz revolution" in the '60s). What got you into jazz in the first place? Who were your guides and teachers?
Robert Levin: Working at Sam Goody's record store got me into it. My father, Abner Levin, a classical music critiche wrote a much-praised book, The Disc Book, with David Hallwas Sam Goody's partner from the early 1950s, when the Long Playing Record was introduced, into the mid-1960s. In 1954, when I was fifteen, I started working part-time at the main store (on West 49th Street, midway between the old Madison Square Garden on Eighth Avenue and the Brill Building and Colony Records on Broadway) and it was there that I met George Sprung and Joe Goldberg. George, who was the head jazz salesman, played a recording of Bix Beiderbecke
I did, and I was fully hooked in a matter of weeks. Then Joe Goldberg, who came to work as a salesman at Goody's a year or two later, expanded the field of what I was listening to by turning me on to people like Charlie Parker
. Joewho'd later write Jazz Masters of the Fiftieswas six years older than me and a big influence. He was writing plays then and Frank Perry wanted to direct one of thema marvelously poetic three-act play called Mexican Blues. It got as far as a backers' audition, which Joe invited me to. Zero Mostel, who was still unknown then, read one of the parts. (Joe was rooming with Jerry Orbach around that time and I remember Orbach joining us for coffee next door to Goody's just moments after he'd auditioned, unsuccessfully it turned out, for West Side Story.) Someone else who worked at Goody's, a trumpet player named Dick Schwartzhe'd recorded an album with Steve Lacy
called Progressive Dixielandalso made valuable recommendations and he played an important role in how I listened.
Other guides and teachers were visitors to the store. Goody's location and enormous inventory (it stocked virtually every LP in existence and sold them at deep discounts) made it a kind of mecca, and besides all of the celebrities who came inI recall an entrance by Marilyn Monroe very vividlya lot of musicians and people in the jazz business showed up. I met Sidney Finkelstein, who wrote Jazz, A People's Music, Harry Lim, Martin Williams and Marshall Stearns there. And Nat Hentoff
's Friends and Neighbors album, which was recorded by Bob Thiele for his pre-Impulse Flying Dutchman label. On the title track, it was the chorus's job to shout, "Friends and neighbors, that's where it's at!" That line (and my reading of it) notwithstanding, Friends & Neighbors is actually a pretty good album.
EB: Was it when you realized you weren't going to be a musician that you decided to become a writer and critic instead?